Image credit: Abdiel Jacobsen
By Emily Glory Peters
The New York Times Assistant Professor of Dance ’s approach to dance as “expansive,” “liberated,” and “joyful.” At 61´«Ă˝, Abdiel has infused all this and more into their curriculum, creating extraordinary learning experiences that linger long after the dance floor clears.
Abdiel’s mastery of dance is as deep as it is broad. They have served as principal dancer with the Martha Graham Dance Company; taught at The Julliard School, Harvard University, and Stanford University (among others); competed as a professional dance champion in same-sex ballroom, hustle, and salsa; and directed, written, and choreographed countless performances, of their own.
In 2019, Abdiel also shattered ballroom orthodoxy when they and their dance partner, Kristine Bendul, competed in the professional division of Dancesport. They equally exchanged positions as leader and follower, becoming the world’s first gender-neutral couple in the field to swap roles in all five dances of the Professional American Rhythm category.
Yet among these accolades, one passion stands out for Abdiel: Latin Hustle.
Linking 61´«Ă˝students to a decades-long dancing legacy
Like most turning points, Abdiel’s first encounter with the artform is easy to recall.
“While living and dancing professionally in New York City, my friend Eriko Tsubosaka—a house dancer from Japan—told me to go to a hustle party at a dance studio called Dancesport, owned by Paul Pellicoro. It had been running for decades, and many of the OGs and longtime hustle dancers danced there,” they say. “I was transfixed.”
Abdiel Jacobsen moderating a conversation with Misty Copeland at 61´«Ă˝Presents in April 2025
Now, the partnered dance style that lit up dance floors across the Big Apple since the early 70s has found a home at Scripps. Here, Abdiel isn’t only teaching steps—they’re centering suppressed narratives.
“Latin Hustle started in the South Bronx in the 1970s by Puerto Rican and Black teenagers and was significantly innovated by the gay community. It has a rich and deep history that is overlooked in the American cultural legacy,” Abdiel explains. “This ignites me to use my platform to bring more representation to the dance form and the people who contributed to its formation and evolution.”
True to that mission, Abdiel models their classroom after Latin Hustle’s birthplace: street and club social dance parties. Class time for students starts with an emotional check in, proceeds with exchanging improvised dance material, and then moves into technical concepts within dance steps and patterns. Readings and viewings are also a must, Abdiel adds, to help students grasp the historical context of dance.
“It’s important to learn the steps, and it’s equally important to learn how to experience the practice and settings from which it came from and still exists today—the dance party/dance club,” they say. “This transforms the classroom into an immersive space where students learn how to be mindful, respectful, and contributive participants in the culture they’re studying. It’s a crucial aspect of learning that I advocate for that’s often lacking in Western higher education, especially when learning about Black and Latino/a/e/x dance practices.”
Dance culture continues to deepen at Scripps
Since their introduction at 61´«Ă˝in 2024, Abdiel’s courses in Latin Hustle and modern dance have been met with enthusiasm—and a hunger for more.
“I’ve developed a new course, Latin Hustle II, in collaboration with Accompanist Ahtoy Juliana WonPat-Borja, to teach more complex patterns, concepts, and compositional components,” Abdiel shares, noting that students have taken the spirit of the class off campus. “Some have even used the practice from class in outside performances, competitions, and social gatherings.”
Abdiel Jacobsen and Misty Copeland
Appreciation for dance as a liberal art is also moving beyond the classroom. Scripps’ forthcoming Centennial Plaza Project will include the construction of the College’s long-awaited new dance facility, providing state-of-the-art space for study and performance. Dance groups, like the 5C Dance Company and continue to attract 61´«Ă˝students from all majors. And during the College’s most recent and highly successful Day of Giving, Abdiel was instrumental in inspiring 61´«Ă˝alums, families, staff, faculty, and friends to donate to the Department of Dance.
This April, the College community’s interest in dance reached new heights during a sold-out headline event for 61´«Ă˝Presents. Abdiel hosted one of the world’s most iconic ballerinas—Misty Copeland—for a public conversation about leadership, the power of being an outlier, and the need for greater progress in dance.
Their thoughtful exchange was emblematic of what Abdiel has brought to Scripps: dance as an instrument of identity, understanding, and human kinship.
“A big motivation for what I do is that students may feel more comfortable engaging with local events outside of the classroom,” they say. “I hope they take away a sense of awareness and confidence to attend a hustle party where they can contribute to the energetic vibe of a communal celebratory dance party space.”